Group Exhibition

Lee Yong Deok, born in Seoul in 1956, is a prominent South Korean sculptor known for his striking “inverted sculptures” that play with visual perception and spatial illusion. He studied sculpture at Seoul National University, where he earned both his undergraduate and graduate degrees, before continuing his artistic training at the Berlin University of the Arts under the Meisterschüler program. Emerging in the mid-1980s, Lee was part of a new wave of Korean artists who pushed beyond the dominant Dansaekhwa movement, reintroducing figurative elements into contemporary art. His work often explores the tension between opposites, such as inner and outer, light and shadow, prompting viewers to question what is real and what is imagined.

Lee has exhibited internationally, with solo shows in major institutions like the Schulmuseum in Berlin and the National Museum of China. His 2018 exhibition “Indivisibility” at Arario Gallery in Cheonan delved into philosophical themes of unity and perception, drawing on ancient ideas from thinkers like Parmenides. In addition to his studio practice, Lee has made a lasting impact on Korean art education, serving as both professor and dean at Seoul National University’s College of Fine Arts. He has received several major honors, including the Kim Sechoong Sculpture Award and the Moonshin Art Award, reflecting the depth of his influence on the contemporary art world.

Choongmok Yoo is a Korean artist whose work reflects a deep conversation between tradition and modernity. Born in 1977, he studied Environmental Art and Design at Namseoul University before continuing his education in the UK, where he earned a master’s degree in Visual Practice at the University of Sunderland. He later returned to Korea to complete doctoral research at Seoul National University of Science and Technology. After spending nearly ten years living and working in the U.S. and UK, Yoo came back home with a desire to reconnect with his roots and to explore what it means to carry history forward in a rapidly changing world. His work has since been exhibited internationally and acquired by public and private collections in Korea, Europe, and the U.S., earning honors such as the NICHE Award and the National Glass Center Grand Prize.

Yoo’s recent work focuses on the form of glass water droplets, arranged delicately across yellow-stained wood panels. These droplets, shaped with care and intention, seem to shift depending on the light or the viewer’s position, casting shadows that move and evolve throughout the day. Drawing from the traditional Korean color system of obangsaek and the decorative painting style of dancheong, Yoo offers his own interpretation: one that blends emotion, memory, and a quiet sense of time passing. Each droplet feels personal, almost like a fragment of his lived experience. Together, they form a landscape that’s both intimate and open, an invitation to pause, to reflect, and to notice what often goes unseen.

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With a background in Fine Art from Kyungbook University in Daegu, Korea, and having also completed a graduate course in the same department, Yoon’s talent and passion for art are undeniable. Since 2003, his works have been showcased in prestigious international fairs such as the Shanghai Art Fair, Singapore Art Fair, Dubai Art Fair, Taipei Art Fair, and Miami Art Fair. Yoon has also been a part of notable group exhibitions, including ‘The truth about the six rooms’ at the Savina Museum of Art in 2006, ‘Illusion/Disillusion’ at the Seoul Museum of Art in 2006, ‘The flow – Daegu’s artists’ at the Posco Museum in 2006, and the KCAF Korean Contemporary Art exhibition at the Seoul Art Center in 2005.

Yoon’s talent has been recognized through awards, such as the Special Prize in the 12th Grand Exhibition of Korea in 1993 and the First Prize in the 18th Grand Exhibition of Daegu Art in 1998. His works have even been admired and collected by the National Museum of Modern Art, Daegu District Publ. Prepare to be captivated by Yoon’s exceptional artistic vision and skill.

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Murray Hochman was born in 1934 and raised on NYC’s Lower East Side. He has a BA in art history from New York University and an MFA from Alfred University in ceramic arts, although he quickly turned to
painting.

His first works were bought by Frederic Mueller of the Pace Gallery and other prominent curators and collectors, including Henry Geldzahler (then curator of American Art at the Metropolitan Museum), Sam Hunter, Robert Scull and Allan Stone. During the 1960s, he was included in group shows at the Pace and Tibor de Nagy galleries along with the Whitney Art Resources Center and the Lobo Gallery in Montreal.

Throughout the following decades, Hochman has painted and exhibited consistently, but largely under the radar of the mainstream art establishment. In 2000, he bought a farm in the Berkshires, where he has been working in relative isolation for the last 25 years.

It stimulated a period of intense creativity and new directions, including collage, paintings on scrap metal, and wall reliefs and sculpture made out of discarded plastic, his first foray into the third dimension since his graduate work in ceramics.
www.murrayhochman.com

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Dabo Kang is a Korean-born, New York–based painter whose work explores the subtle interplay between light, silence, and the passage of time. Working primarily in large-scale oil and acrylic paintings, she creates atmospheric fields defined by repeated gestures, meticulously layered color, and finely modulated surfaces.

Over more than three decades, Kang has cultivated a distinctive visual language rooted in nature’s quietest phenomena—the resilience of winter blossoms, the meditative stillness of lakes, the shifting hues of distant horizons, and the boundless depth of blue.

Her paintings are not merely representations but contemplations: vast spaces where color becomes breath, where boundaries dissolve, and where the viewer is invited into a profound state of inward reflection.

Kang’s works have been exhibited in leading galleries throughout New York, Hong Kong, Singapore and Korea, and her paintings are held in esteemed private and public collections worldwide.

Her practice remains a constant evolution—an ongoing search for the delicate threshold between presence and disappearance—a search that defines both her art and her perception of the world.

Currently living and working in New York, she continues to push the boundaries of her medium, exploring the infinite possibilities of light.

David Gerstein, born in 1944 in Jerusalem, is an Israeli artist widely recognized for his colorful and energetic works that blur the line between painting and sculpture. He studied at top art institutions across the world, including the Bezalel Academy in Jerusalem, the École des Beaux-Arts in Paris, the Art Students League in New York, and Saint Martin’s School of Art in London. Initially known for his figurative paintings, Gerstein began pushing the boundaries of traditional art in the late 1970s by introducing cut-out images and later developing his signature laser-cut metal wall sculptures. His work captures scenes from everyday life like cyclists, city streets, birds, and butterflies brought to life with bold colors and layered forms.

Gerstein’s pieces are displayed in public spaces and private collections around the world. He has created more than 40 public installations in Israel alone, and his 18.5-meter sculpture Momentum in Singapore stands as one of the tallest public artworks in the country. His art has reached a broad audience, attracting collectors like Lance Armstrong and even appearing in popular literature, including Stephen King’s Duma Key. Gerstein’s approach emphasizes joy, movement, and accessibility, offering a fresh, optimistic take on contemporary life through a blend of sculpture, painting, and design.

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Alexander Yulish was born in New York and studied fine art at Connecticut College. He currently resides between New York and Los Angeles. Yulish has had solo exhibitions at ACE
Gallery in Los Angeles and Trinity London. His work is included in the collection of Museo Jumex in Mexico City.

Yulish works within an unfolding narrative of improvisation and abstraction in paintings that convey the inner psychology of both human and external forms. Working predominantly in large-scale, Yulish utilizes a direct, impasto brush, building irregular shapes layer by layer into gestural, complex color arrangements in order to reveal abstract figurative forms. The movement of these gestures throughout each painting is marked simultaneously by harmony, undulation, and discord, all playing out across the canvas with a distinct lyrical impulse unifying the composition of his work. The scale of each work allows him to communicate an inner dialogue with tactful urgency, expressing the depths and complexities of the human psyche.

Painting within an immediate and expressive stye, Yulish’s studio practice is born of varying applications of acrylic on canvas as part of an elaborative process. Swirls of lines and broader
shapes are established, conjoined, integrated, and sometimes lost within the ceaseless creation of new forms and expressions. You can glimmer traces of Parisian bohemians like Modigliani
and Delaunay and grit of contemporary society. This tension between success, failure, and the precariousness of sustaining gestural rhythm are active elements that define his creative
process as well as the nature of his depicted subjects.

The work delves into the immediacy of life’s journey, highlighting its fragility and unbreakable nature. The artist is drawn to the paradoxes and unpredictability of existence, seeking to convey
the immediacy, vulnerability, and fragility of life to the audience. The show, which has been in the making for several years, serves as a reflection of the artist’s vision of the world, portraying
the internal struggle and conflict that permeates society. It acts as a road map, inviting viewers to contemplate and reinterpret the complexities of life.

Central to the body of work is the theme of the tenuous connection between humanity and intimacy, emphasizing the importance of preserving this connection amidst a world torn apart by conflict.

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